In this book, scholars and artists explore the relation between electronic music and bodily expression from perspectives including aesthetics, philosophy of mind, phenomenology, dance and interactive performance arts, sociology, computer music and sonic arts, and music theory, transgressing disciplinary boundaries and established beliefs. The historic decoupling of action and sound generation might be seen to have distorted or even effaced the expressive body, with the retention of performance qualities via recoupling not equally retaining bodily expressivity. When, where, and what is the body expressed in electronic music then? The authors of this book reveal composers', performers', improvisers' and listeners' bodies, as well as the works' and technologies' figurative bodies as a rich source of expressive articulation. Bringing together humanities' scholarship and musical arts contingent upon new media, the contributors offer inspiring thought and critical reflection for all those seriously engaged with the aesthetics of electronic music, interactive performance, and the body's role in aesthetic experience and expression. Performativity is not only seen as being reclaimed in live electronic music, interactive arts, and installations; it is also exposed as embodied in the music and the listeners themselves.

Electronic music evokes new sensations, feelings, and thoughts in both composers and listeners. Composing Electronic Music outlines a new theory based on the powerful toolkit of electronic music techniques.

This bibliography includes all available citations of books, articles, and monographs pertaining to "musique concrte," "Elektronische Musik," "tape music," and "computer music" from publications in fourteen languages.

Just like Memphis for Rock'n'Roll, Dusseldorf is regarded as the Mecca for electronic music. The capital of North Rhine-Westphalia became the centre of an analog electronic movement which changed the course of all popular music to come. Electri_City is the oral account of the city's most influential bands, including Kraftwerk, NEU!, DAF, Die Krupps and many more. This history uncovers the myths and reality of the bands emerging from the artistic backdrop of a wealthy, modern, post-WWII German city; the conditions that fostered such a creative explosion. Interviews include Daniel Miller (Mute Records), Paul Humphreys and Andy McCluskey (OMD), Martyn Ware (Human League), Glenn Gregory (Heaven 17), Rusty Egan (Visage) Ryuichi Sakamoto and producer, Giorgio Moroder.

Drawing on recent ideas that explore new environments and the changing situations of composition and performance, Simon Emmerson provides a significant contribution to the study of contemporary music, bridging history, aesthetics and the ideas behind evolving performance practices. Whether created in a studio or performed on stage, how does electronic music reflect what is live and living? What is it to perform 'live' in the age of the laptop? Many performer-composers draw upon a 'library' of materials, some created beforehand in a studio, some coded 'on the fly', others 'plundered' from the widest possible range of sources. But others refuse to abandon traditionally 'created and structured' electroacoustic work. Lying behind this maelstrom of activity is the perennial relationship to 'theory', that is, ideas, principles and practices that somehow lie behind composers' and performers' actions. Some composers claim they just 'respond' to sound and compose 'with their ears', while others use models and analogies of previously 'non-musical' processes. It is evident that in such new musical practices the human body has a new relationship to the sound. There is a historical dimension to this, for since the earliest electroacoustic experiments in 1948 the body has been celebrated or sublimated in a strange 'dance' of forces in which it has never quite gone away but rarely been overtly present. The relationship of the body performing to the spaces around has also undergone a revolution as the source of sound production has shifted to the loudspeaker. Emmerson considers these issues in the framework of our increasingly 'acousmatic' world in which we cannot see the source of the sounds we hear.

During the twentieth century, electronic technology enabled the explosive development of new tools for the production, performance, dissemination and conservation of music. The era of the mechanical reproduction of music has, rather ironically, opened up new perspectives, which have contributed to the revitalisation of the performer's role and the concept of music as performance. This book examines questions related to music that cannot be set in conventional notation, reporting and reflecting on current research and creative practice primarily in live electronic music. It studies compositions for which the musical text is problematic, that is, non-existent, incomplete, insufficiently precise or transmitted in a nontraditional format. Thus, at the core of this project is an absence. The objects of study lack a reliably precise graphical representation of the work as the composer or the composer/performer conceived or imagined it. How do we compose, perform and study music that cannot be set in conventional notation? The authors of this book examine this problem from the complementary perspectives of the composer, the performer, the musical assistant, the audio engineer, the computer scientist and the musicologist.

This is the first book to develop both the theory and the practice of synthesizing musical sounds using computers. Each chapter starts with a theoretical description of one technique or problem area and ends with a series of working examples (over 100 in all), covering a wide range of applications. A unifying approach is taken throughout; chapter two, for example, treats both sampling and wavetable synthesis as special cases of one underlying technique. Although the theory is presented quantitatively, the mathematics used goes no further than trigonometry and complex numbers. The examples and supported software — along with a machine-readable version of the text — are available on the web and maintained by a large online community. The Theory and Techniques of Electronic Music is valuable both as a textbook and as professional reading for electronic musicians and computer music researchers.

The theme of this Research Companion is 'connectivity and the global reach of electroacoustic music and sonic arts made with technology'. The possible scope of such a companion in the field of electronic music has changed radically over the last 30 years. The definitions of the field itself are now broader - there is no clear boundary between 'electronic music' and 'sound art'. Also, what was previously an apparently simple divide between 'art' and 'popular' practices is now not easy or helpful to make, and there is a rich cluster of streams of practice with many histories, including world music traditions. This leads in turn to a steady undermining of a primarily Euro-American enterprise in the second half of the twentieth century. Telecommunications technology, most importantly the development of the internet in the final years of the century, has made materials, practices and experiences ubiquitous and apparently universally available - though some contributions to this volume reassert the influence and importance of local cultural practice. Research in this field is now increasingly multi-disciplinary. Technological developments are embedded in practices which may be musical, social, individual and collective. The contributors to this companion embrace technological, scientific, aesthetic, historical and social approaches and a host of hybrids but, most importantly, they try to show how these join up. Thus the intention has been to allow a wide variety of new practices to have voice unified through ideas of 'reaching out' and 'connecting together' and in effect showing that there is emerging a different kind of 'global music'.

Mazierska presents a cultural history of popular Viennese electronic music from 1990 to 2015, from the perspectives of production, scene and national and international reception. To illustrate this history in depth, a number of case studies of the most successful and distinguished musicians are explored, such as Kruder and Dorfmeister, Patrick Pulsinger, Tosca, Electric Indigo and Sofa Surfers. The author draws on research about electronic music, the relationship between music and the urban environment, the history of Austria and Vienna, music scenes and fandom, the digital shift , stardom in popular music (especially electronic music), as well as theories of postmodernism.

Smithsonian Folkways Recordings is the nonprofit record label of the Smithsonian Institution the national museum of the United States. They are dedicated to supporting cultural diversity and increased understanding among peoples through the documentation preservation and dissemination of sound. Folkways Records believe that musical and cultural diversity contributes to the vitality and quality of life throughout the world. Through the dissemination of audio recordings and educational materials Folkways Records seek to strengthen people s engagement with their own cultural heritage and to enhance their awareness and appreciation of the cultural heritage of others. Our mission is the legacy of Moses Asch who founded Folkways Records in 1948 to document people s music spoken word instruction and sounds from around the world. The Smithsonian acquired Folkways from the Asch estate in 1987 and Smithsonian Folkways Recordings has continued the Folkways commitment to cultural diversity education increased understanding and lively engagement with the world of sound.

This album recorded in 1967 by the Electronic Music Studio (EMS) of the University of Toronto exemplifies early experimentations in electronic music. It was the first studio of its kind in Canada (founded by Dr Arnold Walter) and the second in the North American Continent. The abstract songs are eerily captivating. Liner notes include explanations of how the songs were created as well as biographical information on the members of the EMS.

Smithsonian Folkways Recordings is the nonprofit record label of the Smithsonian Institution the national museum of the United States. They are dedicated to supporting cultural diversity and increased understanding among peoples through the documentation preservation and dissemination of sound. Folkways Records believe that musical and cultural diversity contributes to the vitality and quality of life throughout the world. Through the dissemination of audio recordings and educational materials Folkways Records seek to strengthen people s engagement with their own cultural heritage and to enhance their awareness and appreciation of the cultural heritage of others. Our mission is the legacy of Moses Asch who founded Folkways Records in 1948 to document people s music spoken word instruction and sounds from around the world. The Smithsonian acquired Folkways from the Asch estate in 1987 and Smithsonian Folkways Recordings has continued the Folkways commitment to cultural diversity education increased understanding and lively engagement with the world of sound.

Director of the Rio Grande Electronic Music Laboratory J.D. Robb traces the evolution of electronic music using examples of his own work. Newer instruments and techniquesor improvements on older onesoffered both advantages and limitations; he describes them in detail in the notes. The recording includes eleven tracks.

Smithsonian Folkways Recordings is the nonprofit record label of the Smithsonian Institution the national museum of the United States. We are dedicated to supporting cultural diversity and increased understanding among peoples through the documentation preservation and dissemination of sound. We believe that musical and cultural diversity contributes to the vitality and quality of life throughout the world. Through the dissemination of audio recordings and educational materials we seek to strengthen peoples engagement with their own cultural heritage and to enhance their awareness and appreciation of the cultural heritage of others.

Smithsonian Folkways Recordings is the nonprofit record label of the Smithsonian Institution the national museum of the United States. We are dedicated to supporting cultural diversity and increased understanding among peoples through the documentation preservation and dissemination of sound. We believe that musical and cultural diversity contributes to the vitality and quality of life throughout the world. Through the dissemination of audio recordings and educational materials we seek to strengthen peoples engagement with their own cultural heritage and to enhance their awareness and appreciation of the cultural heritage of others.

Smithsonian Folkways Recordings is the nonprofit record label of the Smithsonian Institution the national museum of the United States. We are dedicated to supporting cultural diversity and increased understanding among peoples through the documentation preservation and dissemination of sound. We believe that musical and cultural diversity contributes to the vitality and quality of life throughout the world. Through the dissemination of audio recordings and educational materials we seek to strengthen peoples engagement with their own cultural heritage and to enhance their awareness and appreciation of the cultural heritage of others.